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艺术总不能摆脱现实生活的约束,无论现代艺术中诸多流派怎样挣扎,不是牺牲就是俘虏,这已是不争的事实。原因是人和艺术都呼唤生命、渴望生命、依恋生命。现实生活是生命的载体,艺术回归现实生活就是回归对生命的依恋。 大地是生命之母,人类对生命的依恋,归根到底是对土地的依恋。杨尧作为一个油画艺术家,对这一点早就非常敏感:1984年,他那幅入选第六届全国美展优秀作品展的作品《赤土》,就是表现生命对土地依恋的代表作。一个裸露的山坡,天刚下过雨,南方的红壤颜色更红更艳,强烈的色彩具有极明显的个性。红土上一株幼松,雨后更是青翠欲滴,在恶劣的环境中,生命不嫌土地的贫瘠,在顽强地生长,激发了人们对生命的珍惜和赞叹。其实,无论哪一类现代艺术,哪一种表现方法,其最终的目的都是对生命本质在各种
Art can not always get rid of the constraints of real life. No matter how many schools of modern art struggle, it is an indisputable fact that they should not sacrifice or capture prisoners. The reason is that people and art all call life, longing for life and attaching to life. Real life is the carrier of life, and the return of art to life is the attachment to life. The earth is the mother of life, human attachment to life, in the final analysis is the attachment to the land. Yang Yao, as an oil painting artist, has long been very sensitive to this: In 1984, his piece “Clay Soil”, selected for the 6th National Fine Arts Exhibition, was the representative of life’s attachment to land. A bare hillside, the sky just rains, the red soil in the South is more red and more colorful, strong color has a very distinct personality. A young pine on the red soil, the rain is even more verdant, in the harsh environment, life is not too boring land, growing indomitable, inspire people to cherish the life and praise. In fact, no matter what kind of modern art, what kind of performance method, its ultimate goal is the nature of life in a variety of